Suraiya went onto establish herself as one of the leading actresses in Hindi cinema with films such as Ishaara (1943), Tadbir (1943), Phool (1945), Anmol Ghadi (1946), Omar Khaiyyam (1946), Parwana (1947), Dard (1947), Shair (1949), Dastan (1950), Afsar (1950), Diwana (1952), Bilwamangal (1954) and Mr. Lambu (1956).

[9] Suraiya's career marked a significant turning point in 1948–1949 with the highest grossing releases of the year—Vidya (1948), Pyar Ki Jeet (1948), Dillagi (1949) and Badi Behen (1949), that brought her public recognition.

Her most notable portrayal was of a tawaif, Moti Begum in Mirza Ghalib (1954), which earned her critical acclaim and praises from two Prime Ministers of India.

Vakil noticed the charm and innocence of young Suraiya and selected her to play the role of Mumtaz Mahal, the film released in 1942 and marked her acting debut.

As soon as music director Naushad Ali heard Suraiya's voice, he chose her to sing (at age 13) for Mehtab in Abdul Rashid Kardar's film Sharda (1942).

[24] As a child artist, Suraiya acted and also sang in the films, Usne Kya Socha (1937), Mother India (1938), Tamanna (1942), and Station Master (1942).

[23][26] Devika Rani, who headed the Bombay Talkies production company, seeing Suraiya's blooming brilliance as an actress and as a singer signed her on a five-year contract at Rs.

In the film, she played the second lead alongside Devika Rani and had a duet dance and her song with Arun Kumar, "Bistar Bicha Diya Hai Tere Ghar Ke Samne" became very popular.

[33][34] Praising her performance in Anmol Ghadi, Dinesh Raheja of Rediff.com noted: "True to her name Basanti, Suraiya wafts through the film like a rejuvenating spring breeze.

[60] During the years 1951–53, Suraiya's career saw a fluctuation with a series of commercial failures—in the films Shokiyan, Rajput, Resham, Moti Mahal, Lal Kunwar, Khubsoorat, Goonj and Mashuqa.

Later, Suraiya played Shobha, whose husband dies in war in Waris and Sahebzadi Aalam, whose is in love with a poet in Shama Parwana, opposite Shammi Kapoor.

[100] The films were Pyar Ji Jeet (1948), Aaj Ki Raat (1948), Naach (1949), Balam (1949), Bari Behen(1949), Amar Kahani(1949), Sanam (1951), Shama Parwana(1954), Kanchan (1955) and Trolley Driver (1955).

"Man mor hua matwala" (in Afsar), "Nain Deewane", "Layi khushi ki dunia" (with Mukesh in 'Vidya') and "Preet sataye teri yaad na" in Lal Kunwar being some of them.

[124][125] While working as a child artist at All India Radio, Suraiya became friends with Raj Kapoor and Madan Mohan, who later became an actor and music director respectively.

[126] Suraiya shared a cordial relationship with many people from the industry and was friends with Paidi Jairaj, Nimmi, Nirupa Roy, Tabassum and lyricist Hasan Kamal.

[135] Suraiya died at Mumbai's Harkishandas Hospital on 31 January 2004 aged 75, after being admitted there for a week previously suffering from various ailments, including hypoglycemia, ischaemia and insulinoma.

[139][140][141] In 2006, Mumbai High Court granted her Pakistani cousin, Mehfooz Ahmed (maternal uncle M. Zahoor's son) the right to administer the estate.

[154] In 1946, Suraiya's film Anmol Ghadi celebrated Silver Jubilee (25 weeks continuous run in one or more cinema halls) in Bombay and other cities of India.

[165] In his book Bollywood's Top 20 Superstars of Indian Cinema, Niranjan Iyengar wrote about her and noted: "Suraiya had become a national rage post her success in 1948-1949.

[172] She earned praises with her roles in the films: Anmol Ghadi, Vidya, Pyar Ki Jeet, Bari Behen, Dillagi, Dastaan and Mirza Ghalib.

[172] Her path-breaking roles include portrayal of a willful girl in Anmol Ghadi, a strong and protective sister in Bari Behen and Mr. Lambu, a wealthy women in love with a poor cobbler in Vidya, an orphan in Dastaan, a nomadic woman in Diwana, a courtesan in Mirza Ghalib and Bilwamangal, and a princess in Rustam Sohrab.

[176] The author of Celebrities: A Comprehensive Biographical Thesaurus of Important Men and Women in India, credited Suraiya for saving several films, with her "fine portrayals and dulcet songs".

"[4] Asjad Nazir of Eastern Eye termed her "screen queen" and said, "The biggest music and film star in India created the kind of mania with fans not seen before, with unprecedented crowds gathering to catch a glimpse of her.

"[178] Journalist Adi Katrak called her, the first artist of the film industry to enjoy "star value" and noted her 1940s stardom to be bigger than that of Nargis and Dilip Kumar.

[180] According to Kanana Jhingana, Suraiya acted as a link to connect "tradition and modernity" with her films, her work represented the inclusion of Muslim voices and bodies in the aural/visual composite of Hindi cinema.

"[173] A journalist of Outlook India called her a "singing superstar" and stated, "The only Hindi film actress to be felicitated by two Prime Ministers for the same role – with which she performed a salutary service to Indian literature.

[182] Commenting on her singing style, Ashok Ranade opined: "Suraiya's voice is neither thin nor broad and its strength is clearly felt in pronunciation of individual words, projection of line-endings and the facility with which she moves in the given tonal framework.

"[186] A News18 India writer noted, "In a professional manner, Suraiya's performances were distinguished by elegance and grace, and she sang from the depths of passion and tenderness in her heart and soul.

"[187] In November 1956, Suraiya was sent to the Soviet Union by the Government of India as part of a delegate consisting of Raj Kapoor, Nargis and Kamini Kaushal, where her films were screened.

[202][203] In 2023, an exhibition at Kiran Nadar Museum of Art in Noida, named "Sitaare Zameen Par", had portraits of Suraiya that were captured by JH Thakkar.